This may be interpreted as an F# minor pentatonic (F# A B C# E) with not only the blues chromatic passing tones (B B# C#), but also diatonic passing tones (G#, D#). With the G# and D#, it can be interpreted as F# dorian with the blues chromatics.

But it doesn't really matter the label. The most important thing to identify is that the B - B# - C# are acting as colors.

...modes and scales are still useless.

Quote by PhoenixGRM

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This may be interpreted as an F# minor pentatonic (F# A B C# E) with not only the blues chromatic passing tones (B B# C#), but also diatonic passing tones (G#, D#). With the G# and D#, it can be interpreted as F# dorian with the blues chromatics.

But it doesn't really matter the label. The most important thing to identify is that the B - B# - C# are acting as colors.

Could you explain how it relates?(Not being a smartarse, I just genuinely think he's talking about a different subject.)

Could you explain how it relates?(Not being a smartarse, I just genuinely think he's talking about a different subject.)

basically when it comes down to it if you figure out the tonality of the melody you can much more easily find notes to hit rather than laying out all the different notes, it will be easier to get into more specific answers, such as the reason for these note choices, if you explain where the notes came from. did you disassemble some chords and write the notes down or did you just write down all the notes used in a solo or melody?

Quote by Dirk Gently

Some pieces are only meant to be played by people with six fingers on their fretting hand. Sorry.

Ok. So you've got a "pile of notes" if you will. What if your overall goal here? Why is it relevant or important to you to be able to associate them with a "scale"?

What will that help you achieve? I'm assuming you're trying to figure out what key you're in or something. Only you know the answer to that, but the thing here that makes me say what I said is:

Not everything needs to fit into a scale. Music isn't always diatonic (it's more often NOT), and not every note in a sequence of chords or notes is going to relate back to a single scale. So, if that's your goal here then I think you're possibly taking the wrong approach.

My process for determining the overall key of a piece would be as follows:1. Listen to determine the tonic (I) - which note sounds "best", that's probably your tonic2. Is it major or minor...?

That solves 90% of your problems...if you want to dig deeper into what the underlying harmony implies chromatically...then ya.

If you wanna know the key of a progression listen out for where it resolves - where it sonds finished. Depending on weather that chord is a major or minor chord you will probably be building a melody using the corresponding major/minor scale, but taking into account that some chords may be non diatonic (not built from the scale) so you may want to use accidentals (notes not in the scale).

Next time you plan to ask a similarly vague question consider giving us more context - ie where you got the notes from and why you want to know what scale they may be contained in - that way we can give you better advice without having to pry details from you.

But boys will be boys and girls have those eyesthat'll cut you to ribbons, sometimesand all you can do is just wait by the moonand bleed if it's what she says you ought to do